Posted: April 16, 2011
Written by Mike Duffy
Interpol’s much-anticipated set from Coachella’s main stage was just as much about the visual effects as it was the music, and that’s how the band kind of wanted it.
Heading into the massive festival, Interpol announced that they were teaming up with director David Lynch (Blue Velvet, Mulholland Drive) to create an experience where “the observer becomes the observed,” and once that happens, “the performance explores the deepening layers of covert surveillance.”
The experiment took place in the second half of the show, as a cartoon played simultaneously alongside the dark “Evil,” a hit from Interpol’s second album, Antics.
Now touring on their fourth, the eponymous Interpol, the New York rockers came on at the prime spot in the day when the sun was falling over the California mountains. They definitely took advantage of it on other songs, as well.
As the sky darkened, the “Coachella” Stage’s two huge video boards showcased several eye-catching images, which were also repeated on huge screens behind Interpol’s guitarist Daniel Kessler, who played a Gretsch for most of the night, and bassist Brad Truax.
During a packed-crowd favorite, the song “Barricade” was played with images of all three guitarists on the facades, swathed in a red tint and with Matrix-style numbers dropping down in red, the main color used throughout the visual affair.
But one of the biggest pops came when the opening chords of “Evil” were played. “Rosemary, heaven restores you in life/You’re coming with me now/Through the aging, the fearing, the strife.”
The younger crowd immediately rushed nearer to the stage to film their next YouTube video or host a personal viewing party.
It seems that the new-wave band that broke out to so much success in the early 2000s, only to drift to the back of the pack as the decade wore on, is now ready to stay insert themselves back in the forefront.
Given this day and digital age, Friday’s visually- and sonically-arresting performance has them on the right track.
Posted: April 12, 2011
Katy Perry’s guitarist Patrick Matera stopped by the Gretsch showroom in Burbank, Calif., and fell in love with the Brian Setzer Black Phoenix. Needless to say, the showroom is now missing the Brian Setzer Black Phoenix.
Posted: April 11, 2011
Nick Perri, who now plays with Sinai and has worked with artists including Shinedown, Perry Farrell and Matt Sorum, recently uncovered a great Gretsch discovery in his own family.
The Gretsch guitar above still looks fairly new, but as Perri learned, it has quite the history. The guitar belonged to his uncle’s uncle, Jerold Daywalt, better known by his stage name of Jerry Kelly.
Back in the 1930s, Kelly was a session heavyweight, playing with the likes of Bing Crosby, Bob Hope, Patti Page and the likes. He also had his own band, The Kelly Bros.
As a musician and fellow Gretsch artist, Perri enjoyed combing through Kelly’s scrapbook, and has kindly shared a few of those photos with us.
Here’s Jerry Kelly with the Gretsch.
A letter to Jerry Kelly from WQDX.
It’s hard to make out, but Patti Page autographed this for Kelly, writing, “To Jerry, Best Always, Patti Page.”
Posted: April 8, 2011
Watch this Gretsch Tim Armstrong model set to its bridge pickup for tough, gutsy rock tone. The Super-Sonic Twin amp is set for ARENA output and NORMAL tube bias, with LOOSE speaker damping that adds a little harmonic chaos to the groove.
Posted: April 6, 2011
This morning, Gretsch announced the new G6120DE Duane Eddy Signature Hollow Body guitar model with an awesome animated video of the original-era hit maker and true rock ‘n’ roll innovator.
The instrument is a single-cutaway beauty with classic styling and full, resonant sound that combines features based directly on his original 1957 G6120 model with modern Gretsch features that all together pay fitting tribute to the undisputed King of Twang.
Eddy is still going strong in 2011, and he will be forever revered as an original guitar hero who put a deep and resounding twang into rock ‘n’ roll. On a string of late 1950s and early ’60s instrumental hits, he used dramatic single-note melodies on the lower strings of his guitar, pronounced tremolo and vibrato, and liberal doses of echo to produce a signature sound that evoked souped-up cars on Saturday night one minute and the wide-open vistas of the Wild West the next. With unmistakably distinctive hits including “Rebel Rouser,” “Forty Miles of Bad Road,” “Cannonball,” “The Lonely One,” “Shazam” and “Some Kinda Earthquake,” he became the most successful instrumentalist in rock history, charting 15 top 40 singles from 1958 through 1963 and selling more than 100 million records worldwide.
The G6120DE’s bound single-cutaway hollow body has three-ply maple back, sides and arched top, with trestle bracing and bound oversized f holes. The three-piece bound maple neck has a brass nut, lacquer finish and slim profile based on Eddy’s original 1957 G6120, and is topped with a bound headstock. Other features include a 12”-radius rosewood fingerboard with 22 medium frets and hump-block pearloid inlays; dual DynaSonic™ single-coil pickups with three-position switching; gold plexi pickguard bearing Gretsch logo and Eddy’s signature; modern Tru-Arc™ bridge and Bigsby® B6CBDE vibrato tailpiece with Duane Eddy-style “DE” handle and extra-long string-retainer pins; gold G-arrow control knobs and gold-plated, chrome and polished aluminum hardware; gold-plated Grover® V98G Sta-Tite™ tuners; Dunlop Straplok® system; Desert Sunrise lacquer finish; and deluxe hard shell case.
The pure sound of Duane Eddy is the pure sound of a great Gretsch guitar, and the G6120DE resonates with his amazing sound and his amazing rock ‘n’ roll legacy as a true “Rebel Rouser” of an instrument.
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